See Rock City

Tuesday, February 10, 2009

New Orleans, LA

Jackson Barracks was planned and completed, during the presidency of Andrew Jackson(1829-1837), to house the Federal garrison at New Orleans. It was originally named the New Orleans Barracks. In 1866 it was renamed Jackson Barracks in honor of General Jackson, hero of the Battle of New Orleans. The original post was constructed in the form of a parallelogram, fronting 300 feet on the river by 900 feet in depth. The main entrance was from a pier on the river through a sally port tunneling the quarters of the Post Commander.

Round brick towers, perforated with rifle posts, at the four corners, connected by a high brick wall enclosed the troop quarters. The fortress plan, coupled with self-sustaining features such as food and water storage facilities, permitted its garrison to withstand a local siege.

The two-story soft brick officers' and enlisted men's quarters were constructed in the manner characteristic of antebellum Louisiana, with wide verandas, round and square columns, gabled and tripped roofs and spacious interiors. To the rear, beyond the walls, was the Post Magazine. Fronting the Headquarters Building, facing the river, was a wharf for the landing of supplies and movement of troops to and from the down river forts of St. Philip and Jackson.

A picturesque sally gate, two of the towers, the officer's quarters flanking the parade ground and the soldier’s barracks to the rear, forming a hollow square, remain today much as they were more than a century and a quarter ago. Owing to the sinking of the levee, in front of the post, on 25 October 1912, it became necessary to build a new levee back on the barracks property, necessitating dismantling the twotowers and the Headquarters in front of the barracks. Historic Jackson Barracks, including acreage added since its original construction in 1835, occupies approximately 100 acres of land extending from the Mississippi River to one mile beyond St. Claude Avenue, between Delery Street and the St. Bernard Parish line. Increase in geographic size was necessitated by increased utilization and construction. Construction was of the wooden (temporary) type, much of which has been destroyed.

Jackson Barracks was used during the Mexican War as an embarkation point and a general hospital. During the Civil War, both the United States of America and the Confederate States of America occupied the post. Both World Wars I and II found Jackson Barracks being used as a processing and embarkation point.

During Work Progress Administration days in the 1930's the original old buildings were completely restored and a fine new Headquarters building was constructed to become the office of the State Adjutant General. The barracks suffered considerable damage from Hurricane Betsy in 1965 and another restoration and beautification project became necessary to restore the historic old post to its picturesque charm, which historians and tourist find so attractive.

Jackson Square Other Names: Place d`Armes Address: Vieux Carre

Here, in the heart of the French capital of Louisiana, twice in three weeks the inhabitants stood breathlessly waiting while their allegiance was shifted from Spain to France to the United States. At noon on November 30, 1803, they jammed into the old Place d'Armes and stood there silently in a torrential downpour, waiting for the announcement from the balcony of the Cabildo that Louisiana had passed once again to French possession. On December 20, in circumstances similar to those of the previous ceremony, they heard that their allegiances again had been changed, and saw the flag of France hauled down, to be replaced by the Stars and Stripes. With that symbolicflag-raising, the United States received the greatest single accession to its territory in the history of the nation.

Status: Jackson Square, hub of the French Quarter through the years, has an increasing attraction for visitors. As a public park, it offers winding walks along tree-shaded paths, comfortable benches for the weary pedestrian, and fascinating vistas of the Cabildo, St. Louis Cathedral, and the other historic buildings which ring the square. In the center, dominating the park, are the heroic statue of Andrew Jackson and the flag pole marking the site of the symbolic transfer of sovereignty to the United States.

James H. Dillard House Address: 571 Audubon Avenue

571 Audubon Street, New Orleans, was the home of James Hardy Dillard fromapproximately 1894 to 1913. It is a one story frame central block structure with symmetrical wings.

The front elevation is marked by a full height pedimented portico.The date of the structure's construction is unknown. The owner says that local hearsay dates the central portion to 1828, but this is doubtful. Deed records dating to 1890 indicate that improvements were on the property at that time. According to the owner, who purchased the property in 1955, no major structural changes have taken place since the turn of the century, i.e. since the time Dr. Dillard occupied the building.

The floor plan is irregular. The rooms have 14' ceilings. With the exception of the installation of a modern kitchen and the conversion of one of the wings from an enclosed side porch into a bedroom, no interior changes have been made. The owner, who is a member of the National Trust for Historic Preservation, has carefully maintained all original interior features. None of the furnishings are associated with Dillard.

On the right side of the house on an adjacent lot the owner has installed a swimming pool. The pool is screened from the street by a four foot fence. Although the pool and the fence are contemporary additions to the property, they do not appear to intrude on the integrity of the main structure. Today both the interior and exterior of 571 Audubon Street are substantially the same building James H. Dillard lived in from 1894 to 1913.

The Jean Louis Rabassa House is a small raised cottage of brick between postsconstruction. The plan consisted originally of four rooms, two across the front and two deep with two cabinets or small rooms at the ends of a recessed rear gallery which is now enclosed. Across the front is a gallery that supports a heavy wood parapet that once probably formed part of a later Greek Revival cornice. The house has gable ends with a straight sloped roof in front and a double sloped roof in the rear to extend out over the rear gallery and cabinets. The gable ends are covered with small wood shingles that appear to be original and, if so, are a unique surviving example of this type of wall surface. Most of the doers and windows and interior trim was replaced in the 1850's period with late Greek Revival details. The timber frame with its members dove tailed, mortised and tennoned, numbered with Roman numerals also is perhaps the most important feature of the house.

Although the house is in a badly deteriorated condition it could be restored to its original form and condition as an important example of the early house of the Faubourg Treme.

STATEMENT OF SIGNIFICANCE

The house is significant as a unique surviving example of the raised cottage type once fairly common in the areas surrounding the original City of New Orleans. Its shingled gable ends are of particular importance as is the roof form. The house was erected by Jean Louis Rabassa soon after he purchased the site from Lewis Fuller on May 17, 1825. Fuller had purchased the property in two parts, one on November 18, 1816 and the other on October 21, 1819, both from the corporation of the City of New Orleans, Augustin Macarty, Mayor. In 1810 the city had bought the plantation ofClaude Treme and had it subdivided into streets and building lots to which the name Faubourg Treme was given. The lots bought by Fuller were No.'s 6 and 7 of the original plan of this new Faubourg as laid out by Jacques Tanesse then City Surveyor, in 1812. When Rabassa sold the property in 1833 to Jean Bapiste Seraphin Cucullu, it is stated in the act of sale that the land belonged to him by his purchase from Fuller and "the buildings as having had them built."

The Jean Marie Saux Building (1860) is a two-story brick commercial structure located on City Park Avenue immediately across from the original main entrance to the New Orleans City Park.

The surrounding area is a prosperous upper middle class neighborhood of the period 1900-1925. Despite numerous changes, the building retains enough of its historic fabric to convey its historical associations.

The building began in 1860 as a two-story common bond brick commercial structure withtwo-story galleries on two sides. A coffeehouse occupied the ground story and living quarters occupied the upper story.

Julia Row consists of thirteen brick row-houses three and a half stories high, extending for a full block front between Camp Street and St. Charles Street in the Central Business District of New Orleans. Situated on 26.3' x 135' lots, the houses are separated by brick fire walls which punctuate the continuous gable roof line and which contain the chimneys of each unit. At the rear of the lots is a narrow service alley, giving access to the rear courtyards, service wings, and service stairs of thehouses.

The plan of each house is ell-shaped, with the main three and a half story block extending the full lot width flush with Julia Street and the three story service wing at the rear running parallel to each side property line from the main block to the service alley. Each service wing is oriented toward Camp Street so that privacy in each courtyard is obtained. The courtyards, running parallel to the side property lines, are thus approximately 12' wide and 58' long.

The ground floors were apparently originally intended for shops, but at an early date many became a part of the residences above. A side hall with stairs off the main street entrance gave access to the principal double parlors on the second floor front. In these parlors, the first decorative detail is concentrated. On the third level front were two large bedrooms, separated by closets, and a bathroom at the street end of the stair hall. The fourth floor front (1/2 story) is identical to the third, but the ceiling slopes with the roof and the street windows are reduced to slits. The service wing at the first level contains three smaller rooms, possibly used as kitchen or pantry and sewing rooms.

The second and third levels of the service wing each contain three smaller chambers, two with fireplaces. The facades of the houses may have been identical originally, but today vary considerably, although the basic three bayed rhythm and overall form of each unit remains to preserve the continuity of the row. Originally, elliptical arched entrances from Julia Street gave access to delicately detailed stairs, rather than to carriageways as in earlier Vieux Carre townhouse examples.

Presently only one original entrance remains and it has been somewhat altered. An 1857 watercolor facade rendering of 632 Julia in the New Orleans Notarial Archives shows the original elements and configuration of the facades, with the exception of the ground floor window treatment. A recent physical inspection of Julia Row has uncovered fragments of evidence in the original brickwork on four of the buildings which indicate that the two ground floor square headed, double hung windows were originally round arched, transomed casement shopfront-type doors. There are two possible explanations for the deviation between the Notarial Archives facade drawings and the physical evidence of these four buildings. First, the drawing was done in 1857, and by that time the lower facades may have been remodeled to be more in keeping with the later Greek Revival. Second, every house in the row may not have been identical. Since the Archival drawing depicts 632 Julia, and the evidence of arches is at 604-606 through 614 Julia, the remodeling theory cannot be proveduntil 632 Julia can be thoroughly investigated for arch fragments.

The facades of Julia Row exemplify the transition phase between the Federal Style andGreek Revival that was taking place around 1832. The lower three stories are typical of the Federal Style, made of hard exposed red brick with very narrow joints, the windows double-hung painted white, and the lowered shutters dark green. Full length 6over 9 "slip head" windows open from the second level parlors onto a narrow balcony on cantilevered iron supports, surrounded by a criss-cross wrought iron railing. The three 6 over 6 double-hung windows at the third level have fixed wooden panels below similar to those on contemporary Vieux Carre examples. The treatment of the attic level deviates from the earlier style below. Instead of the usual delicate wooden or brick cornice surmounted by dormer windows, the roof is raised slightly and a heavy wooden Greek Doric entablature is substituted. Attic windows become horizontal slits in the frieze of this entablature which is also decorated with mutules and guttae in the Greek manner. The lintels over all windows of the facade are treated with heavy stone lintels with Greek top moulding rather than the expected flat brick arch, or wooden corner block type lintel of the Federal Style.

Jung Hotel Other Names: Clarion Hotel Address: 1500 Canal Street

The Jung Hotel is a brick and limestone eclectic skyscraper which stands as a landmark on the edge of the New Orleans central business district. It was built in 1925 and enlarged once in 1928 and again c.1950. Despite several alterations, the building retains all of the features upon which its architectural significance is based.

The ten-story front portion was built in 1925. It is nine bays wide with the windows grouped so as to suggest a central pavilion and end wings. The two-story limestone rusticated base is linked to the tenth floor window-frieze by six strips of brick quoins. Above the window-frieze are a parapet, urns, limestone panels, a central scroll pediment, and a great central Baroque crest with swags and torches. The side facade is similarly treated, but in a simpler fashion. The only major difference isthat a molded frieze two stories up takes the place of the rusticated base.

In 1928 an eighteen story rear addition was built with similar details to the side facade of the original building. The only major difference was that instead of a crowning central scroll pediment, the 1928 portion was surmounted by a two-story piano nobile with columns set between a pair of small end pavilions.

The plan of the LeCarpentier-Beauregard-Keyes House is very simple and the structure has an air of spaciousness. The principal entrance is from the front gallery into a large hall which runs the full length of the house, opening at the rear into the dining room. The principal rooms are arranged on both sides of the hall. In the rear of the house is a large flagstone courtyard, with auxiliary buildings.

The principal feature of the exterior design is the front gallery,-constructed in 1827, which consists of a raised, pedimented portico with four columns, reached by two flanking curved granite stairways which were added about 1850. The rails of the stairs and gallery are of wrought iron of a Greek pattern, with some cast ornament. At the foot of each stair are iron gates hung from granite gate posts.

The central doorway is a finely detailed double wood paneled door with sidelights and a rectangular transom. Engaged Ionic colonnettes separate the doorway and the sidelights. A similarm one, having simple pilasters instead of the colonnettes, is found at the opposite end of the hall, between it and the dining room. Practically all the interior doors are similar to the ones which open from the two front rooms onto the gallery, but are wood paneled instead of having the upper part glazed, and the transoms and interior trim are identical.

The windows at the side of the house are large double hung ones, divided by narrowmuntins into small lights. They have splayed paneled jambs extending to the floor with a wood panel filling the space below the windows. All the rooms have plaster cornices and several have center ceiling ornaments. In each of the principal rooms there are marble mantels placed on a narrow chimney breast against the wall.From the dining room double doors with elliptical transoms and sidelights open on the rear gallery which extends across the entire rear of the house. This dining room was formerly the gallery, the present gallery being an addition sometime after 1865. There are six rectangular wood posts on the gallery and wood twin stairs lead down from it to the paved courtyard. The balustrades of the gallery and stairs are also of wood. At the west corner of the house is a small wing containing the kitchen and also a later addition, once the office of Mrs. Keyes' secretaries, is now a room for the display of an antique doll collection.

The attic is reached by a small enclosed stairway which comes down into the anteroom at one end of the dining room. In the attic are two finished rooms lighted by dormer windows of which two are on each side and one at the rear center. The roof is tripped with a low pitch, and is covered with slate with terra cotta hip and ridge tiles. At the rear of the courtyard is a two-story building, once used as servants' quarters. It is faced with a wood gallery or balcony from which access is gained to the rooms. The lower floor of this building contains the study of the late Frances Parkinson Keyes. Adjoining the building, at the west corner of the house, is a one-story building which is the Beauregard Library Building, reconstructed from a shed which was there on the property. It also includes the bedroom which for many years was occupied by Mrs. Keyes when she was in residence. The Foundation's Libraryconsists of standard Classical works, of Mrs. Keyes' books and many reference works she used in her writings; also a fine edition of Boydell's Shakespeare. In this part of the complex there are two bath rooms and a small patio of later construction.Originally the house was ornamented by a formal garden which adjoined it to the east of the main building. In 1952 a ramshackle building which occupied the site was purchased and demolished. The original plans of this garden had survived and the garden was restored by the Architectural firm of Koch and Wilson for the Keyes Foundation. Later a study was made by the Garden Study Club of New Orleans and the garden replanted with flowers, trees, and shrubs which were used in gardens of the time that the house was built.

Lafitte’s Blacksmith Shop, erected toward the end of the 18th century, is an excellent example of a French Colonial Louis XV townhouse of briquette-entre-poteaux construction.1 The structure was built sometime between 1772 and 1791 by Jean and Pierre Lafitte, illicit dealers in “black ivory” (slaves), who according to tradition, posed as blacksmiths to mask their nefarious trade. The small one-story building is now used as a bar.

Present Appearance

Nearly square, the house originally had four rooms of equal size. The original interior partitions have been removed to form a large room for use as a bar. There was no galerie, so that the typical French Colonial double-pitch roof was no longer needed, but the tradition is remembered in the graceful flare of the hipped roof at the eaves. The roof is covered with tile, a roofing material that came into general use in New Orleans after the fire of 1794.

Designed in the formal Louis XV style, the graceful flare of the roof line and the delicately pedimented and pilastered dormers contribute elegance to the symmetrically handled facade of the small building. The briquette-entre-poteaux construction is clearly visible on the exterior where the plaster has crumbled away to expose the soft brick between framing timbers of cypress. Remaining plaster and the exposed brickwork have been carefully stabilized to preserve both the structure and this “historic look.”

Leeds Iron Foundry Address: 923 Tchoupitoulas Street

The exterior walls are stuccoed brick, with the first story of the front built of load-bearing, cast iron columns and lintel which support the masonry above. One column at its base has the letters "LEEDS" cast integrally. The interior is three equal bays wide running the length of the building, with two rows of wood columns supporting wood beams and wood floor. The roof is also three bays. The whole is typical commercial construction of its time and place. Fenestration was to the front and back. The back elevation had simple double hung sash on the second and third floors; the first floor wall at the back has been altered destroying the original work.

The main importance of the building is the street elevation in the Gothic style. Sited at the head of a long narrow park square, the building is conspicuously sited.All of the Gothic columns, window frames and lintels are of cast iron. The lower cornice is of stucco. The existing sash on the first floor is later and non-descript. There is no record of the design of the original sash on the first floor. The casement sash on the second and third floors following the original drawing closely and is considered original.

A drawing in the Labrot Collection, Special Collections Division, Tulane University Library is undoubtedly the working drawing for this building. Another drawing shows a commercial building similar in design and detail which drawing is earlier is not nown. Both drawings are from the Gallier office; in 1852 the firm was Gallier and Turpin.

Longue Vue House and Gardens Address: 7 Bamboo Road

NATIONAL REGISTER NOMINATION

Longue Vue House and Gardens is a grand suburban estate reminiscent of an Englishcountry seat. Work on the gardens began in 1936, although they achieved their final form in the 1939-42 period when the buildings were being constructed. Longue Vue occupies an eight acre parcel of land in a twentieth century neighborhood on the outskirts of New Orleans. Although hemmed in by residential development and a golf course, Longue Vue has the overall ambiance of a country estate. In addition to the main house and gardens, there are eleven contemporaneous dependencies and a tennis court. The house and its two linked dependencies are in the Classical Revival style, with the source of inspiration being English architecture of the period 1740-80 (latePalladian Revival and neoclassical). All in all, the estate is remarkably intact.

All of the original buildings survive, and modern construction has been confined to three greenhouses. The main house has received only minimal alterations, and the dependencies are well preserved. Although the gardens have been modified in some respects, they retain sufficient integrity to merit listing as a contributing component to this nomination.

BACKGROUND

Longue Vue's architects, William and Geoffrey Platt, and landscape architect Ellen Biddle Shipman worked together to create a masterpiece of unity between house and gardens. In fact, the present house was actually an afterthought to the gardens. The owners, Mr. and Mrs. Edgar Stern, had built a large Colonial Revival house on the site in 1923 -- the original Longue Vue. Their lot was initially fairly small, with additional acreage being acquired over the years. In 1936 Ellen Biddle Shipman began work on gardens for the estate. Because their house did not relate well to the gardens, the Sterns had it moved off the property, and, at Shipman's suggestion, hired the Platt brothers to design a new house on the same site. Shipman then worked in concert with the architects to complete the gardens at Longue Vue.

In some respects, Longue Vue was designed as it was to take maximum advantage of anexisting site plan. The original Longue Vue was situated in the corner of the property with land extending to the south and west. The southern section had already been developed with a formal axial garden. This left the west, with its ample acreage for a stately approach, as the only possibility for the front of the house. This background explains why the principal elevations at Longue Vue (the main facade and the garden facade) are to the front and side rather than the typical arrangement of front and rear. It is also interesting to speculate that the existing formal axial gardens undoubtedly determined the choice of Classical Revival as the style for the house.

SITE PLAN OVERVIEW

A short winding road lined with pine trees provides access to the estate entrance from Bamboo Road. The drive ends in a granite paved entrance court with a gardener's cottage on one side and a gardener's office on the other. At the head of an eighty foot oak allee is the main house, which has its own forecourt with a fountain. The house, in Palladian fashion, is flanked by matching dependencies connected by colonnades. To the north is the "playhouse" (used for entertaining) and a tennis court. Formal gardens extend to the south on axis with the side elevation of the main house.

Running along the southern edge of the property (beyond the formal gardens) are various other gardens, as will be detailed later. There is also a small historic garden at the northeast edge of the house (the Pan Garden). Functional garden-related dependencies such as sheds and greenhouses are located behind the gardener's office. (Please refer to enclosed site plan.)

THE MAIN HOUSE

Longue Vue has a basement, two principal stories, and a capacious attic. It is constructed of reinforced concrete with a plaster finish. The tripped roof is pierced with prominent yet simple chimneys. The house has two principal elevations--the front and a garden facade. Both feature projecting two story pavilions with an enclosed ground story and an upper story in the form of a three bay pedimented portico. In the case of the main facade, the entrance is on the ground floor with noexterior stairs providing access to the portico porch. The garden portico has curving stairs on each side. The porticos are restrained and elegant, featuring slender Tuscan columns, dentils outlining the pediment, and a wooden fan form. Because Longue Vue is longer than it is wide, the garden elevation has a grander scale than the main facade. This elevation has numerous openings placed to provide impressive vistas of the gardens.

The rear elevation is fairly plain, at least in comparison to the principal elevations. Its middle three bays on the second story feature a recessed paneled wall with free-standing Tuscan columns.

The louvered panels give the impression of an open loggia that was subsequently enclosed, but such is not the case. By the very nature of the site plan, the northern (side) elevation was never intended to be a principal elevation. It features a severe-looking two story projecting pedimented pavilion with dentilsand a fanlight. The northern elevation also has a large bay window at the first floor level to provide a view of the Pan Garden.

Essentially Longue Vue's floor plan (both floors) consists of a central hall with a range of rooms on all four sides (see enclosure). The plan also makes much use of circular and semicircular spaces in a manner reminiscent of the work of eighteenth century English architect Robert Adam.

The house is entered via a circular vestibule. Steps flanked by fluted Roman Doric columns lead to the wide main hall, which runs almost the entire length of the house. The linear quality of the hall is broken at the center by a semicircular space on each side defined by free-standing fluted Roman Doric columns. The semicircular space to the left contains the staircase and the one to the rightserves as an alcove, or anteroom, to the library. The sweeping stairs ascend to a wide hall with rooms grouped around it. Shorter than its downstairs counterpart, this space is divided into three bays by free-standing fluted Ionic columns. A semicircular stair leads from the second floor hall to a third floor landing that has a flat ceiling pierced by a delicate glass dome. The third floor landing iscut in an open circular shape, providing a view of the dome from the second story hall. Doors lead from the third floor landing to the attic.

Because each room at Longue Vue is so different, they will be described individually. The following will highlight the principal architectural features of the major historic rooms:

Ladies Reception Room (downstairs)

This room features a paneled dado, a simple cornice, a delicate plaster ceiling centerpiece, and a late eighteenth century English Adam-style mantel. The latter was purchased by the Sterns specifically for their new home, as were other mantels and some paneling, as noted later. The mantels were stripped to reveal the natural wood.

Library (downstairs)

This room is located in the first floor of the projecting pavilion on the garden elevation. Its door provides an axial view of the gardens. The room was created around a section of spruce paneling, with accompanying mantel/overmantel, taken from an eighteenth century house in England. (The paneling was purchased for the original Longue Vue and was removed for the new house.) The other three walls are paneled in pine, milled and cut to match the old spruce. The fairly simple mantel is surmounted by an overmantel with free-standing Tuscan columns supporting an entablature with a broken pediment.

Blue Room (downstairs; originally known as Children's Living Room)

This room features paneled walls and an antique mantel that appears to be of the American Federal period. It had been purchased for the first Longue Vue and was removed for use in the present house.

Dining Room (downstairs)

The dining room, with its nineteenth century Chinese rice paper wall covering, features openings with diminutive concave friezes that have an overall Oriental look. A large bay window overlooks the Pan Garden. Other noteworthy features include a late eighteenth century English Adam-style mantel; a delicate, richly detailed frieze; a dado; and a plasterwork ceiling centerpiece of intertwining floral chains.

Drawing Room (upstairs)

This grand upstairs room is the largest and most formal in the house. Its three widedoorways open onto the garden portico porch, providing panoramic views of the grounds. The millwork was designed to complement a George Washington memorial mantel that the Sterns had purchased for Longue Vue. The mantel is flanked by bookcases set within a natural wood frame surmounted by a reeded frieze (matching the mantel) and a semicircular decorative recess. The paneled dado, in natural wood, is also reeded. The reeding is continued in the frieze, which is painted to match the ceiling. The plasterwork ceiling centerpiece is in a delicate Adam style.

Master Suite (upstairs)

This four room suite (two bathroom/dressing rooms, a bedroom, and a study) extendsacross almost all of the rear elevation. It has its own hall and a tiny circular vestibule leading to the master bedroom. The bedroom has a late eighteenth century English mantel and a frieze that echoes the swags in the mantel. Mr. Stern's small, cozy study has early eighteenth century French paneling with curving shapes. Other rooms at Longue Vue include a flower arranging room with sinks of different depths, apackage wrapping room with cabinets custom made to hold wrapping paper and other needed items, a delightful stenciled "nap room" with three Murphy beds, and various bedrooms.

Flooring materials at Longue Vue vary. The formal rooms have wide rosewood veneerfloorboards. The circular entrance vestibule has a white marble floor with a black star pattern in the middle. Mr. Stern's study has an oak parquet floor, and the downstairs hall features polished bricks laid in a herringbone pattern. There are also pine floors in various rooms. Doors to the more formal rooms are of solid Honduran mahogany quarter sawn in a crotch grain. The millwork and plasterwork for Longue Vue were custom made in New York. Particularly noteworthy examples, in addition to those already described, include:

(1) a reeded band defining the edge of the ceiling in the downstairs hall. It is accented at the corners with an elaborate plaster design consisting of a pair of anthemions springing from an acanthus cornerblock.